264 MODERN GERMAN LITERATURE adaptation of a comedy of errors by Tirso de Molina1: an old greybeard brings to an Oriental city a magic rhyme; he that speaks it falls into a trance and enters any corpse he wishes to. Thus a beggar at the city gates roams about the stage in the king's body, and the king in this beggar's body commits adultery with his own wife. The humour is very sad. In Gefdhrliche Uebe (1913), an adap- tation of Les liaisons dangereuses, the unfolding of character is too nuanced for effective stage drama, but the psychological finesse makes it attractive reading. A boy just come from country to court is tragically contrasted with a hardened rake with his snake- like fascination, the 'hero' of endless and perilous amours; and there is all the glamour stung with pain of the Don Juan legend, of the Casanova legend, in the 'hero's* logic - the true heroism of great deeds, he tells the worshipping boy, is swallowed instantly by death, and all one has of life is what can be snatched of it as it flies past. Gefahrliche Uebe is the most satisfying of Scholz's plays, probably because it is not written to the neo-classic pattern; it is not of course an impressionistic play - the intrigue is too cal- culated for that, and there is still that neo-classical elimination of imaged lyric beauty which gives hardness to the characters -, but there is an approach to impressionism in the shadowing of the glamour of scene and costumes by the gathering cloud of the Revolution, which ends the last act as the advent of a new period (this again a continuation of HebbePs technique of prophetic sym- bolism). Judged by strict dramatical canons the play must fail; for instance, one of the heroines dies of a night of love, which is hardly likely. That the action is complex - there are five protagonists - removes the play from the uncompromising concentration of the neo-classic type to almost epic variety. Die Feinde (1917) is clearly inspired by events of the War: isolated attacks by villagers on German garrisons are transferred to somewhere in Germany just before Napoleon's retreat from Russia begins; and (as in HebbePs Judith} a heroine who visits the enemy commander at night is over- come by her physical attraction to a strong man, enhanced by her revulsion from the feeble creature she was to marry. Das Her%- wunder (1918) is a notable example of the miracle play, which now, in the progression from HofmannsthaPs Jedermann to Max Mell, and in the turn to religious mysticism due to post-War pessimism, 1 Ufar alien Zauber Uebe (1931)> Der BJcbter von Zalamea (1937), and Das Lebtn em Traum are adaptations from Calderon.